). The original copper plate for The Adoration of the Magi is now in the British Museum and many extant impressions were printed during the 19th century; earlier printings such as the current work are extremely scarce. Hind 10; Levenson, et als., Early Italian Engravings from the National Gallery of

, by Pierre Michel; subsequently with C. G. Boerner, Düsseldorf, 2014. A superb, richly-inked impression of this extremely scarce, early Italian Renaissance engraving. Mantegna (1431-1506) likely based this scene, the left half of a 2 part horizontal composition created on separate plates, on an

). Campagnola's importance as an early printmaker and Renaissance artist corresponds to his use of stipple-engraving technique, which produced shading obtained by dots made by the point of the graver on the metal plate. According to Landau and Parshall, "The innovation allowed a much greater range

MARTIN SCHONGAUER The Tribulations of St. Anthony . Engraving, circa 1469-73. 323x238 mm; 12 3/4x9 1/2 inches, narrow to thread margins. Second state (of 2). The letter D with a double cross watermark (Lehrs 5 ***, which he dates to the late 1400s). A superb, richly-inked and evenly-printed

ALBRECHT DÜRER The Bath House . Woodcut, circa 1498. 388x284 mm; 15 3/8x11 1/4 inches. A very good, dark, well-inked and evenly-printed printed Meder d impression with strong contrasts and little to no sign of wear, with the relief from the wood block still distinct on the verso. Augsburg chalice

ALBRECHT DÜRER A Knight on Horseback and the Lansquenet . Woodcut, circa 1498. 390x283 mm; 15 3/8x11 5/8 inches, narrow to thread margins. Second state (of 2). A superb, dark and evenly-printed Meder II b-c impression of this very scarce, early woodcut, with the razor-thin break in the block over

ALBRECHT DÜRER St. John Devouring the Book . Woodcut, 1498. 390x280 mm; 15 1/2x11 1/8 inches. A very good, early and richly-inked impression from the 1498German text edition, with very strong contrasts, no sign of wear and with the relief from the block distinct on the verso. From the Apocalypse

ALBRECHT DÜRER The Martyrdom of St. John . Woodcut, 1498. 392x282 mm; 15 1/2x11 1/8 inches. A very good, dark impression from the 1511 Latin text edition, with strong contrasts. High crown watermark (Meder 259, which he dates from the late 1400s to the early 1500s). From the Apocalypse. With thread

ALBRECHT DÜRER The Virgin on the Crescent with a Crown of Stars . Engraving, 1508. 118x75 mm; 4 3/4x3 1/8 inches, thread margins. Second state (of 2), with the outer halo completed. A superb, richly-inked Meder a impression in this state, with the vertical scratch in the halo at the right and with

ALBRECHT DÜRER St. Christopher, facing right . Engraving, 1521. 118x75 mm; 4 5/8x3 inches. A superb, well-inked Meder a-b impression, with very strong contrasts and before the scratches on the plate across the child's raised fingers and above his head. Trimmed on or just inside the plate mark

ALBERCHT DÜRER Coat-of-Arms with a Skull . Engraving, 1503. 215x154 mm; 8 1/2x6 1/8 inches, thread margins. Second state (of 2), with the scratch between the ground and the lowest arc of the helmet foliage to the right of the shield. A very good, dark and well-inked Meder II a impression with strong

ALBRECHT DÜRER The Lamentation . Woodcut, circa 1497-1500. 395x286 mm; 15 5/8x11 1/4 inches. A good, dark and evenly-printed impression from the 1511 text edition. High crown watermark (Meder 259, which he dates from the late 1400s to the early 1500s). Trimmed on the border line. Bartsch 13; Meder

JOHANNES WIERICX (after Dürer) Adam and Eve. Engraving, 1566. 245x192 mm; 9 3/4x7 5/8 inches. Trimmed on the plate mark. A superb, dark and richly-inked impression of this scarce engraving with very strong contrasts. Wiericx (1549-1620), an artistic prodigy from a family of engravers, made several